It seems there are multiple ways to trace the lineage of IDM. Most
people trace it's roots to funk but a primary element of nearly all funk
rhythms is the triplet in a 4/4 groove which can often imply a 3 on 2 -
this feature is nearly non-existent in IDM. "4 on the floor" has more of
a relation to West African & reggae grooves than R&B. The reliance on
repetitive rhythms using sequencers in the electronic world seems to be
linked with the batterias of Brazil. This is just touching on some of
the rhythmic strains that led to what is modern electronic music.
I'm sure someone could follow the influence of technology, ignoring both
chordal & rhythmic developments and make a good argument that it's the
machine that has revolutionized music, not the player.
All are influences, but I don't think we have an understanding of music
if we choose to close off possible paths, including those that might use
traditional instrumentation (bass, drums, guitar.)
The flaw seems to be looking to the past influences in music for a
conclusion as to what music is today, rather than opening up the
possibilities of what it could become.
Every generation believes it is at the apex of musical development. I
suppose it's possible that we could be the first generation that is
right, but I don't think it likely.
-----Original Message-----
From: l.garcia@utoronto.ca [mailto:l.garcia@utoronto.ca]
Sent: Thursday, March 25, 2004 1:15 PM
To: unlisted-recipients
Cc: idm@hyperreal.org
Subject: RE: [idm] science in genres...hmmm
Not to play Captain Poopypants here, but a lot of this lineage-tracing
seems to be a exercise in constructing linear narratives from a
scattered,
contradictory and often unrelated scattering of events. Ultimately, we
need some narratives to help organize our understandings of origins and
development, but IDM's histories seem to resist that...and I think
that's
a good thing, overall.
If anything unifies EDM, IDM and Electroaccoustic/Tape music's origins,
it's the prevelance of hermetic creativities. So many artists in
electronic music (especially before the last 1/4 of the XX-century)
worked
in a state of conceptual isolation, taking their inspiration from a
broad
array of sources rather than a father-teacher/student-son scenario.
So, while I recognize the importance of creating creation stories for
IDM
and EDM (this is especially true in a classroom setting), we should
leave
some room for Other stories, Other voices.
cheers,
Luis
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